The Mandolin

Through the years I have encountered many mandolin players and builders and have tried playing on numerous mandolins from various places around the world. But never have I encountered any instrument that matched the possibilities or the shades of sound produced by Arik Kerman’s mandolins.

— Jacob Reuven

It is Kerman’s instrument which allows Jacob to perform the great majority of the violin repertoire in a convincing, resonating manner. Kerman’s instruments manage to overcome many of the difficulties common to other, more traditional mandolins. For example, with his instruments it is possible to play on the highest positions even on the lower strings, and the notes produced never sound choked or muffled; in general, the notes resonate longer and the sound is warmer and more amicable than in traditional instruments. This is particularly important when playing solo pieces, Bach sonatas specifically, where a compensation for the lack of bass is required. Kerman’s mandolin compensate for the lack of bass by enabling longer reverberation of the melodic lines on different registers. Another important point is the tuning – mandolins are generally tuned in an equal temperament, which can generate intonation problems in various musical settings, such as when being accompanied by a piano, or a modern orchestra or an ethnic ensemble. Kerman’s mandolins are so well balanced that they can be tuned to fit successfully any musical setting. Kerman’s prime objective was, and still is, to improve the mandolin sound so players have an enhanced freedom of expression. Jacob’s acquaintance with Kerman and his mandolins goes back some 20 years. They connected immediately thanks to their shared quest of making the mandolin a boundless concert instrument. They also shared an origin: Kerman’s knowledge was based mainly on many years of violin building, whereas Jacob’s musical education was based heavily on the violin repertoire.